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Willem De Koch

Born and raised in the Pacific Northwest, Willem de Koch is a trombonist, composer, and educator. He is co-founder of The Westerlies, the brass quartet whose music “occupies a lively territory between jazz, Stephen Foster-styled folk and chamber music with bracing melodies and, crucially, an undeniable sense of fun” (Chris Barton, LA Times). The Westerlies have produced two critically acclaimed albums of genre-defying chamber music: their 2014 debut, Wish the Children Would Come On Home: The Music of Wayne Horvitz, and a 2016 double-CD of primarily original compositions, The Westerlies. Sought-after collaborators, The Westerlies were recently featured on Fleet Foxes’ Crack-Up (2017), and Dave Douglas’s Little Giant Still Life (2017); they spent much of the past season touring with Fleet Foxes in support of their new release, including performances at Coachella, Red Rocks Ampitheatre, and Hollywood Bowl. The Westerlies’ 2017-18 season included featured performances at Musical Masterworks (New Lyme, CT); Clefworks (Montgomery, AL); Mobile Chamber Music (Mobile, AL); Joye in Aiken (Aiken, SC); Bologna Performing Arts Center (Cleveland, MS) and The National Gallery of Art in Washington D.C.

In addition to his work with The Westerlies, Willem has performed with a wide variety of artists including improvisational-music luminaries Wayne Horvitz and Bill Frisell, electronic music duo Odesza, indie-rock songstress Feist, and jazz legends Wycliffe Gordon and George Duke, among others. Willem has performed in a wide variety of venues, from the world-renowned Carnegie Hall and Hollywood Bowl, to hole-in-the-wall jazz clubs and living rooms. He strives to bring people together to build strong communities through music, and seeks to break down the barriers of genre to create a more integrated and inclusive musical landscape.

Willem places a high value on music education as a means for self-empowerment and a tool for social justice. He has served as a teaching artist in public schools across the country, including with Jazz At Lincoln Center’s Jazz for Young People, Seattle Youth Symphony’s Endangered Instruments Program, and Bridge Arts Ensemble in upstate New York. Willem has given masterclasses with The Westerlies at various colleges and universities including The Juilliard School, Manhattan School of Music, Yale School of Music, and others. Willem moved to New York in 2011, and received his Bachelor’s Degree from Manhattan School of Music in 2015. He is currently pursuing his MA in Arts Management and Entrepreneurship at The New School (2019). He lives in Brooklyn.

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4
Album Review

Theo Bleckmann & The Westerlies: This Land

Read "This Land" reviewed by Jerome Wilson


Given the state of the nation in 2021, it is no wonder that protest music has been springing up in all genres. This particular effort by vocalist Theo Bleckmann and the brass quartet the Westerlies mixes protest songs and hymns of the past with original compositions, to comment on various present-day problems. Issues touched on in these songs include war, bigotry, gun violence and economic inequality. Bleckmann's voice rings out as a powerful beacon supported by intricate quartet ...

5
Album Review

Theo Bleckmann & The Westerlies: This Land

Read "This Land" reviewed by John Chacona


Could This Land, from Theo Bleckmann & The Westerlies be the first great musical declaration of the Biden Era? If so, it's probably an accident. When they tracked This Land in August 2019, Bleckmann and the brass quartet entered the studio with a program of protest songs. But in degree and kind, they are worlds away from the howling fervor of Moor Mother or the rousing call to the barricades of Gordon Grdina's Resist (Irabbagast Records, 2020), to ...

5
Album Review

The Westerlies: Wherein Lies the Good

Read "Wherein Lies the Good" reviewed by Hrayr Attarian


The dynamic and inventive brass quartet The Westerlies explores an eclectic array of pieces on its third release, the mesmerizing Wherein Lies the Good. Consisting of four jazz-leaning horn players, the ensemble, in addition to interpreting delightful originals, delves into the modern classical, art-rock and folk repertoires. The album opens with trombonist Andy Clausen's mellifluous “Robert Henry." A hypnotic and effervescent tune that Clausen wrote for his nephew, it flows from one member to another with shimmering lines ...

9
Extended Analysis

Wayne Horvitz/The Royal Room Collective Music Ensemble: At The Reception, Wayne Horvitz: 55: Music And Dance In Concrete

Read "Wayne Horvitz/The Royal Room Collective Music Ensemble: At The Reception, Wayne Horvitz: 55: Music And Dance In Concrete" reviewed by John Ephland


Wayne Horvitz is a musical universe unto himself. Has been for well over 35 years. And it's not just his stick-to-it-ive-ness that continues to make his music so damn engaging, a contrariness redefined. Consider these two recent releases as prime examples. The composer/bandleader/keyboardist (who turns 60 in 2015) has a musical history that just might grab you by the throat, if not coax you into some kind of mesmerizing trance. 55: Music And Dance In Concrete and At The Reception ...

4
Album Review

Wayne Horvitz/The Royal Room Collective Music Ensemble: At The Reception

Read "At The Reception" reviewed by Mark Corroto


Wayne Horvitz already has lovely. It's a tool he wields with ease in his music, be it in his Gravitas Quartet of piano/trumpet/cello/bassoon, his Sweeter Than The Day acoustic quartet or the electric Zony Mash. He even brought lovely to John Zorn's shocking Naked City bands of the 1990s. Horvitz has the ability to distill music, be it classical, jazz, film, or free, down to the essence of melody and harmony.He applies that lovely to his little big ...

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Music

Recordings: As Leader | As Sideperson

This Land

Westerlies Records
2021

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Wherein Lies the Good

Self Produced
2020

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At The Reception

Songlines Recordings
2014

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